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    Is it time for Hawaii to replace zoning with a new city planning paradigm?

    By Keli‘i Akina

    One of the most information-packed episodes of “Hawaii Together” I’ve ever seen aired this past Tuesday on the ThinkTech Hawaii, and I wasn’t even a part of it.

    It was hosted by my Grassroot Institute of Hawaii colleague Joe Kent, who was sitting in for me because I was representing the Institute at a conference in New York City.

    Joe’s guest was Nolan Gray, research director of the housing advocacy group California YIMBY (Yes In My Back Yard), who made the case for abolishing zoning.

    Yes, abolishing zoning.

    When I had the chance later to watch the interview, I thought Gray’s position was highly provocative, but also highly persuasive, grounded firmly in data, history and sound economic reasoning.

    Aside from his affiliation with California YIMBY, which has had success in liberalizing zoning laws in California, Gray’s credentials include being a former city planner in New York City, a doctoral student in urban planning at the University of California, Los Angeles, and author of the new book “Arbitrary Lines: How Zoning Broke the American City and How to Fix It.”

    Keli’i Akina

    Gray said the problem with zoning is that it doesn’t just designate areas as “residential,” “industrial” or “commercial”; it also micromanages every single lot in a city or county, determining precisely what is allowed and what is forbidden — including how big the lots must be, how high buildings can be, what a structure’s floor area must be, what kind of homes can be built, what kinds of commercial or industrial uses are allowed, how many parking spaces are required, and on and on.

    If you doubt what Gray is saying, take a look at the 60-plus pages of Chapter 21 of the Revised Ordinances of Honolulu. Or look at the Honolulu City Council’s Bill 10, which takes up more than 230 pages in an effort to “update” Chapter 21. The amount of regulatory minutiae in both is astounding.

    Gray also wants people to be aware of zoning’s nefarious origins. Most people think its purpose, as stated in Honolulu’s Chapter 21, is to “encourage orderly development.” But actually, zoning originated as a way to implement racial and economic segregation.

    In Berkeley, one of the first cities to adopt it, zoning was used to keep Chinese laundries out of certain neighborhoods. Even after the Supreme Court put a stop to the explicit use of zoning for racial segregation, the practice continued in a more subtle way.

    “What you get in the aftermath of that is that a lot of cities scramble to pursue that type of segregation but through other regulatory means,” said Gray. “What you get instead are these rules that say, ‘Well, we’re not segregating the city based on race, but you have to earn at least enough money to afford a detached single-family home to live in this neighborhood. In this neighborhood, you need to have a 10,000-square-foot lot. In that neighborhood, you need to have a half-acre lot. In this neighborhood over here, we’ll allow apartments to be built.’”

    But even when the motives behind it are pure, zoning still is socially disruptive, pushing up prices by limiting what can be built and adding design requirements “that don’t really serve any health or safety function, but do dramatically increase the cost of housing.”

    There also are all the permits, environmental reviews and other requirements that can add years to the time it takes to build new housing. In some places, zoning is so strict that nearly every project requires some type of special permission or variance.

    Under the circumstances, it’s no surprise that many homebuilders find themselves building mansions on large lots rather than smaller, multiunit homes — as has been happening in Hawaii.

    Gray said the message of zoning is that, “‘We’re not legally going to allow you to build that cheaper, more affordable housing typology. We’re not going to allow you to build those extra units. We’re going to force you to build the more expensive product — if we allow you to build anything at all.”

    Gray described zoning as a “straitjacket” that restricts the way cities can grow and adapt. Worse, rather than preserving the character of a community, zoning undermines it.

    “In so many of these cities where they’ve essentially blocked all growth, the character didn’t stay the same. In fact, the character gets dramatically different. It becomes much more expensive, much more exclusionary, the type of place where young families have to move away, the type of place where retirees have to move away when they want to downsize.

    “To my mind,” Gray said, “… the places where you preserve character are the places where you allow the city to continue to grow and adapt and reflect changing needs over time.”

    Gray said zoning reform should focus on getting rid of the most restrictive rules, like lot-size minimums, single-family zoning and parking mandates. In the long term, however, he said we should reconsider zoning entirely.

    As an example, he pointed to Houston, the only American city without zoning. He said Houston’s experience demonstrates that zoning laws aren’t necessary to keep industrial and residential uses separate. The problem has been addressed efficiently and without government interference.

    Gray emphasized he is not against city planning, just the excessive micromanaging of land use reflected in modern zoning.

    Getting rid of zoning, he said, would free up planners to focus on more important issues, such as infrastructure, traffic and the environment.

    “Increasingly,” Gray said, “folks from all sides of the ideological and partisan spectrum are realizing, ‘Hey, the status quo doesn’t work. The rules that we have in place have really perpetuated a housing crisis and limited opportunity and limited mobility for folks.’”

    I was very impressed by Gray’s arguments and observations. I agree with him that more people need to understand how zoning laws are the main obstacle to affordable housing.

    He said there is a growing movement to end zoning’s stranglehold on our cities, and I hope he is right. At the very least, we need to radically reform Hawaii’s zoning laws and bring city planning and development into a new era.
    __________

    Keli‘i Akina is president and CEO of the Grassroot Institute of Hawaii.

    Filmmaker Connie Florez Riffs on HIFF and Film in Hawai’i

    Editor’s Note: Filmmaker and Hawai’i creative, Connie Florez, has been a local fixture for years in the digital media world. I ran into her at the Hawai’i International Film Festival and was interested to hear her take on where the Hawai’i’s film space is headed and, what she liked at HIFF. (You can see my recent HIFF picks too).

    I sat down with her recently for this interview.

    *************************

    Q:  Can you tell us a bit about your background as a creative in the digital media space? How did this journey begin?

    I’ve been making movies for almost three decades! I seriously I love filmmaking out of a love for movies since growing up with a mom that completely loved taking our station wagon of 6 other  siblings and myself to the DRIVE-IN and movies. I loved art in high school and fine arts in college. I found myself  in my 20s working in engineering field and going back to college for the thirst to knowing more on how things work. Only to always come back to the arts even while working in engineering for 7 years. 

    Filmmaker and creative, Connie Fliorez

    Then I found myself in management again and returning to film by 1995 with the Executive Director for the Honolulu Gay & Lesbian Cultural Foundation for the next 15 years that is the umbrella for the Honolulu Rainbow Film Festival.  That was the beginning of working and producing my first film in 1998 with a rag tag group of indie media makers over the next 3 years. I found myself staying on track with starting Hula Girl Productions LLC by 2003.

    Since then, I have worked in the areas of Producing, Line Producing, Development & Marketing, Directing, Assistant Directing, Director of Photography, Production Manager, Casting, Location Management through Post-production and Distribution. Being an indie filmmaker is an endless journey of learning on a daily basis. 

    I met Bruce Cohen (producer for American Beauty 1999) at a LA based OUTFEST Film Festival. Bruce instilled in me during our conversation about his experiences in media. My biggest take away from that afternoon was that as media makers we can never ever stop being teachable. 

    The best thing about HIFF is the bridge from U.S.A. to the pacific rim and Asia. 
    HIFF has become a creative bridge between the U.S.A, the Pacific Rim and Asia.

    Media constantly changes and once you say you got or you don’t need others. you have just lost your way and career growth just stops. I stay the course to consistently keep learning and growing as a better filmmaker, one day at a time. My fire has been to support stories that I have a passion for in life, stories that can change humanity towards a better place here on earth. 

    Q:  HIFF has always been a kind of watering hole for creatives around the Pacific Rim? What impact do you think HIFF has had on the local digital media space?

    The best thing about HIFF is the bridge from U.S.A. to the Pacific Rim and Asia. Therefore, the responsibility is huge for HIFF as the bridge. Hawaii is the most diversified state in the U.S.A. That says a lot. The space HIFF provides for local digital media has become more like a responsibility or kuleana in HIFF.  In the last 10 years we have Hawaii Women in Filmmaking founded by Vera Zambonelli; HFC-Hawaii Filmmakers Collective, founded by Kainoa Rudolfo and Tom Schneider; and we have Ohina which began over 20 years ago as a film festival to now being an incubator lab for media makers. All three have become incubator labs for media makers. 

    Po’ele Wai by Tiare Ribeaux (Director/Editor), Lenape Creative Group’s Sebastian Galasso (Producer/Co-Writer) and Jody Stillwater (DP/Producer) is one of Connie’s HIFF picks.

    All three of these are now working with the Hawaii State Film Office (DEBDT) which is directed by Georja Skinner with her amazing vision of creating the Hawaii State Creative Lab Hawaii. It’s the Sundance of the Pacific and works at supporting indie filmmakers from Hawaii with the resources and training for telling stories in all genres. This has been the breakthrough for filmmakers in Hawaii. Pacific Islanders in Communications – National PBS Consortia also participates with the Creative Labs. It has been a win-win and continues continues to grow. 

    The infrastructure of indie filmmaking in Hawaii is immersive and growing and it truly is a fellowship of Hawaii based filmmakers. 25 years ago I found myself going back and forth to SF and LA and NYC to learn and grow as a filmmaker from those organizations, festivals, workshops and markets on the mainland. Now Hawaii has it here in the state! That is a beautiful thing to see and to be a part of the growth.

    Q: Did a local film catch your attention during the most recent HIFF?  Perhaps something evocative of a future trend? 

    Two films that total caught my attention:

     Po’ele Wai by Tiare Ribeaux (Director/Editor), Lenape Creative Group’s Sebastian Galasso (Producer/Co-Writer) and Jody Stillwater (DP/Producer). Blew so many of us indie filmmakers away. 

    E Malama Pono Willy Boy written by Nani Ross and Scott Kekama Amona. Excellent edit and story. Mano – shark animated short was another amazing work from Hawaii. 

    Ioane Goodhue (Willy Boy Kupihea) is the conflicted protagonist in E Malama Pono Willy Boy written by Nani Ross and Scott Kekama Amona.

    Q: UH West Oahu just opened a new ACM program which interesting coincided with HIFF this year. Do you think the University can play a bigger role in expanding the industry?

    Definitely ACM and HPU film schools can play a larger role in expanding the industry. I’ve taught for several years as an adjunct lecturer for ACM and know the power of teaching and mentoring. Students working as interns and mentorship programs are the backbone to learning. Now with the non-profits that have indie filmmakers thriving this is the best place for these college students to learn the next level of creative storytelling. Some will work as interns in television industry, some will do both indie and tv and some will go in multimedia. It is really the greatest time in Hawaii to be an indie media maker. The opportunities are endless now.

    Q: What can the state do to move the industry forward?  

    The State is always working on improving the film industry. Even when you think they aren’t…trust me they are always working at improving it and the movers and shakers are deeply investing their lives in supporting the future filmmakers of Hawaii. Some new areas are establishing a tax credit for Hawaii based filmmakers with a min budget of $100k for micro-budget movies. 

    The Glades Project is a feature documentary and project about the famous Hotel Street night club
    The Glades Project is a feature documentary and passion project about the famous Hotel Street night club.

    They have cut it in half from the $200k minimum. That is a lot and offers a leg up. Also, the last couple of years is a push to provide funds that offers grants to Hawaii Based Filmmakers for projects. Several ideas are on the table on how to do it with our Hawaii Sate Film Office director Georja Skinner at the helm. We also have the co-op for filmmakers as well at the Sandbox in Kaka’ako. These are all from our State Film Office Director.

    Q: Where do you see local digital media going?

    Growing more in the area of Producing and mentoring so media makers can know the pitfalls and grow as filmmakers.  So much to learn and so much to teach in real world life of media. I’m still learning always. I sincerely want to support filmmakers with the right tools to be successful. That is where the foundation of filmmaking needs to grow. More mentoring and always staying teachable.  

    Q: What are your current projects?

    The Glades Project is a feature documentary and passion project about the famous Hotel Street night club the Glade Show Lounge with Prince Hanalei and Brandy Lee. PIC is currently funding Production finishing funds. I’ve carried this project since 2002.

    Waikiki the film, we are now reviewing several options for distribution. We just developed a team to carry that through so more people around the world can see it soon.

    Hood Dragon by Ogin Productions is currently greenlit by Sony Pictures and Warner Bros. So development process is happening now and we have an indie Hawaii team on board to travel to Georgia. African American and Asian Pacific Islander movie.

    Yasuke- Soul of the Sword by Ogin Productions in development with Warner Bros. 
    Yasuke- Soul of the Sword by Ogin Productions is one of Connie’s projects in development

    Yasuke- Soul of the Sword by Ogin Productions is one of Connie’s projects in development

    7000 Miles is in post-production by Alixzandra Dove Rothchild.  Feature film project

    Dead Season II is in post-production Directed by Adam Devoe/Fairai Richmond.

    Fluxx is in final production and to post-production directed by Brendan Gabriel Murphy.

    Q:  Any advice you have to up and coming creatives?

    Know who your audience is and how to reach them. Know how to get your story to your audience and build a team that is willing to do the long haul marathon run with you.  It takes a village to make a movie and it takes that same village to finish it all the way through distribution. Allow yourself to stay teachable and you will always be a leader.

    Q:  Anything else you’d like to add on the current digital media space in Hawaii?

    If you are a writer, director, DP, animator, storyteller, lighting or creative then participate in the organizations I listed above and you will be amazed how others will help you in your vision.

    If you want to produce and support the production team, always learn all that you can hands on. The best way to direct or manage others is know how to walk in your teammates shoes. So learn the jobs hands on. They will respect you more for knowing their jobs to your best ability. Producing and learning from development to production to post-production and distribution is huge and makes you the best support for any indie filmmaking team. It is a lifetime of learning and curve balls are always being thrown at you. Know who you are working with and how to navigate the territory are the biggest lessons as a producer.  

    Hood Dragon by Ogin Productions is currently greenlit by Sony Pictures and Warner Bros. 

    When I was in engineering school my calculus professor said something that I will never forget…You will never use these formulas in the real world; what I am here to teach you is different ways to find solutions. When my professor said that my eyes opened up and the path suddenly got easier to comprehend. I found myself solving page long solutions differently than others in class with the same answers. The method wasn’t always the same but isn’t that true in life and in producing. Really what I did in engineering school and in managing people and in the arts has all come down to one simple way of working and living. 

    As a Producer I am always solving problems every minute throughout the process of making movies from the time I receive and idea to a script in development to distribution. There are so many pitfalls and so much corruption and stealing Intellectual Property and damaged lives in filmmaking. I’ve seen it firsthand right in our state of Hawaii and abroad. Staying the course in taking the high road is so much better. It is all about finding the solutions that can be comprehended and tangible for the team and those I work with on any project. Most importantly to have the integrity to do it with strong values and ethics as a producer.

    So vital in our human behavior and malama pono can’t be expressed in a better way than how you live life.   

    HAMILTON MAKES HAWAII DEBUT AT BLAISDELL CONCERT HALL

    PERFORMANCES BEGIN DECEMBER 7th

    History is happening.  HAMILTON, the Tony®, Grammy® and Pulitzer Prize winning Broadway musical, written by Lin-Manuel Miranda, is making its Hawaiian debut.  Performances begin December 7th at Blaisdell Concert Hall and continue through January 29, 2023.

    Tickets are on sale at Ticketmaster.com or in person at the Blaisdell Box Office at 777 Ward Avenue.

    “Bringing Hamilton to Hawaii has been many years in the making.” says Broadway in Hawaii COO Steve Boulay, “Experiencing this extraordinary production is a life-changing experience for many.  Thanks to the talented and dedicated team at Blaisdell Center, Local 665, the City of Honolulu and many others, we can finally share this incredible show with everyone in Hawaii.”

    HAMILTON is the story of America then, told by America now.  Featuring a score that blends hip-hop, jazz, R&B and Broadway, HAMILTON has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theater—a musical that has had a profound impact on culture, politics, and education. 

    With book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire, HAMILTON is based on Ron Chernow’s acclaimed biography. It has won Tony®, Grammy®, and Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors.

    The HAMILTON creative team previously collaborated on the Tony Award®-Winning Best Musical In the Heights.

    HAMILTON features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe, casting by The Telsey Office, Bethany Knox, CSA, and General Management by Baseline Theatrical.

    The musical is produced by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theater.

    The HAMILTON Original Broadway Cast Recording is available everywhere nationwide. The HAMILTON recording received a 2016 Grammy for Best Musical Theatre Album.

    For information on HAMILTON, visit:

    ●       HamiltonMusical.com

    ●       Facebook.com/HamiltonMusical

    ●       Instagram.com/HamiltonMusical

    ●       Twitter.com/HamiltonMusical

    Will Aloha Stadium redevelopment be our next white elephant?

    Hawaii’s record with major public facility projects is so poor it’s a wonder lawmakers have allowed this idea to get as far as it has

    Hawaii’s policymaking elites and their construction industry buddies are getting all excited about moving forward on redevelopment of the old Aloha Stadium.

    Grandiose plans involving multiple possible uses coupled with hundreds of millions of taxpayer dollars to help get the project rolling have drawn oodles of media attention, even as past efforts to build major government projects on budget and on time have failed miserably.

    As reporter Andrew Gomes wrote recently in the Honolulu Star-Advertiser, “Hawaii is littered with big public-facility development projects that have taken exorbitant stretches of time to produce compared with [their original] plans.”

    That, of course, means they cost a whole lot more too, and it’s debatable whether any of them were truly successful when finally completed.

    “To mention a few,” Gomes stated:

    >> “It took over a decade to develop the Hawai‘i Convention Center.”

    >> “An initial segment of Honolulu’s rail system was supposed to be running in 2018.”

    >> “The H-3 freeway opened in 1997 after 34 years of work.”

    >> “Around Honolulu Harbor’s Aloha Tower landmark, there has yet to materialize a mix of residential towers, hotel rooms and offices anchored by a retail center that opened in 1994 despite planning that began in 1981.”

    Now we’re all supposed to fall for the idea that rebuilding the Aloha Stadium, itself a white elephant, is going to turn out wonderful — someday, whenever that might be, and at whatever cost. Well, maybe for some people.

    Speaking of the Aloha Tower Marketplace, “OahuJoe,” aka Joe Kent of the Grassroot Institute of Hawaii, posted a 16-second video on TikTok about the project that has been viewed more than 10,000 times since early October. You can see the video here.

    Budget surplus is good reason to cut taxes

    By Keli‘i Akina

    Thanksgiving is at our doorstep and Christmas is just around the corner, but everything is not joyful.

    Considering Hawaii’s high cost of living and the nation’s record inflation, many Hawaii families are taking a hard look at their finances and calculating how inflation and recession will affect their holiday plans, if not their entire economic futures.

    But there is some good news: Hawaii has a state budget surplus of about $2 billion, and that is expected to grow to about $10 billion over the next four years. It also has $800 million in its emergency reserve, or “rainy day” fund.

    All of which is to say: It’s a perfect time for our returning and newly elected state legislators to cut taxes and remove barriers to economic growth as a way to lower the state’s back-breaking cost of living.

    Keli‘i Akina

    One good place to start would be to exempt medical services from the state general excise tax. Not only would it help lower our healthcare costs, it also would help address the shortage of medical professionals in our state. 

    If you haven’t done so already, I encourage you to sign and share the Grassroot Institute of Hawaii’s petition asking for just such an exemption, which you can find here.

    And yes, a GET exemption for medical services would reduce state tax revenues by about $200 million a year. But considering the size of the state’s budget surplus, lawmakers could cut taxes even more and still come out ahead.

    Another idea would be to lower the GET rate in general. Reducing its rate by just 1 percentage point — from 4% to 3% —  would put $1 billion dollars back into the economy and have the bonus effect of benefiting low-income earners who spend a higher proportion of their income on the tax. 

    Our lawmakers could also slash our income tax rates, which are the second highest in the nation. And if they want to help the tourism industry, they could reduce the transient accommodation tax, which originally was supposed to be only temporary anyway, leaving tourists with more money to spend in the private sector.

    The point is, there are plenty of ways our legislators could put money back into the pockets of Hawaii taxpayers. All that is needed is a little creative thinking — and empathy for Hawaii’s struggling families.

    Ironically, we learned just this week that the state went to the bond market to borrow $800 million — which, oddly enough, is the same amount as in the rainy day fund.

    We could ask why the state needs more taxes, fees or bond debt, especially when it has such a comfortable budget surplus. But whatever the reason, it’s still a perfect time to cut taxes, trim costly regulations, reduce barriers to housing and, in general, work more seriously to lower Hawaii’s exorbitant cost of living.

    A state legislative resolution urging Congress to reform the Jones Act, which adds to Hawaii’s shipping costs, also would be nice. 

    In any case, we can all see that Hawaii residents are having a rough time as it is, and the future is worrisome. 

    Lawmakers can do their part to help turn this around, keeping in mind the good news: the state budget surplus. 

    What a wonderful holiday gift it would be if our state legislators let it be known that reducing Hawaii’s high cost of living is to be their primary focus in the coming new year.
    _____________

    Keli‘i Akina is president and CEO of Grassroot Institute of Hawaii.

    Cleaning House at OHA

    A financial investigation, by auditing firm Plante Moran, recently confirmed 22 instances of “fraud, waste, or abuse” at our Office of Hawaiian Affairs.

    “We are determined to ensure accountability for past wrongdoing,” OHA Chair Carmen Hulu Lindsey is quoted as saying at a news conference. “We know we have to do much better to deliver what our beneficiaries need.”

    As an example, the Plante Moran report examined a transaction with WCIT Architecture, Inc. involving the expenditure of nearly $3 million in public money.  The contract was for the creation of a conceptual master plan related to OHA’s Kakaako Makai project.  Plante Moran found that although WCIT did a good deal of the work and provided some deliverables, the work was “put on hold” by OHA.  The plans that WCIT developed are still unused to this day, and it is unclear if those plans are still viable.  If they aren’t or can’t be used, then a lot of money went down the drain.  It is unclear why the project was put on hold, but Plante Moran found a connection between the contractor and one OHA trustee that seemed to be a conflict of interest.

    One thing we all need to remember is how we got to this point.  In September 2018, the OHA trustees, at the urging of one of the newer Trustees named Keli‘i Akina, engaged CliftonLarsenAllen, another national accounting firm, to conduct a review of OHA’s contracts and disbursements at a cost of $500,000.  The review found 38 “red flag” transactions – transactions that looked suspicious.  These transactions were then examined by Plante Moran, leading to the report above.

    When the CliftonLarsonAllen report came out, however, it was by no means certain that the investigation would continue:  on the day the report was issued, as we previously reported, a statement of OHA’s Chair of the Board Colette Machado and Chair of the Committee on Resource Management Dan Ahuna said, “While this report observed indicators of potential fraud, waste or abuse, it did not identify actual instances of fraud, waste or abuse.”  This technicality was then taken to voters as an argument to kick out Mr. Akina:  on a PBS Insights candidates’ forum, Keoni Souza, who was then running for OHA Trustee-At-Large against Akina, said, “Do I think there was a waste of $500,000?  Absolutely.”  OHA Chair Machado then doubled down by saying, “Keli’i, you tried to find the smoking gun.  And there was none.  It’s on you now.”

    Despite this opposition, Mr. Akina won his 2020 race and is still an OHA trustee.  He was able to convince lawmakers and the OHA trustees to press forward with the financial investigation. 

    This reminds me of German philosopher Arthur Schopenhauer, who said that all truth goes through three steps.

    First, it is ridiculed.

    Second, it is violently opposed.

    Finally, it is accepted as self-evident.

    Hopefully, the ridicule of and violent opposition to uncovering the previous financial shenanigans at OHA has passed.  It now seems to be accepted by the current OHA trustees, and OHA seems to be on a path toward cleaning its house.

    So, lawmakers:  OHA can’t and shouldn’t have a monopoly on cleaning house.  There are certainly other places in state government that could use a dose of investigation and transparency.  How about our Department Land and Natural Resources?  It was flagged in a State Auditor’s report, and a subsequent House investigation ultimately recommended sacking the Auditor.  Hopefully we’re now past the violent opposition and can concentrate on the truth.

    It’s our responsibility to make sure politicians keep their promises

    By Keli‘i Akina

    Most of the results are in from the election, and there are rumors of change in the air.

    Hawaii’s newly elected or reelected lawmakers have not yet taken the reins of government, but we still remember their campaign promises and are optimistic about seeing them addressed.

    Some people like to say that politicians never keep their campaign promises, but that’s an oversimplification. Many elected officials try to make good on their promises, but run into apathy, bureaucracy, political opposition from special interests and other obstacles.

    This is especially true in Hawaii, where effective one-party rule nearly guarantees that change comes slowly, if at all.

    Keli‘i Akina

    So we should not be so quick to point fingers, especially since some of that blame belongs to us as well. Politicians may make promises, but it’s up to us, the people, to hold them accountable.

    If we don’t demand action, followup on our demands and show the consequences at the ballot box, then we have failed in our civic duty.

    For example, Gov.-elect Josh Green made some exciting promises about taxation and housing, and has indicated an interest in exempting medical services from the general excise tax — something that the Grassroot Institute has long advocated and is the subject of our latest petition

    We certainly can dispute some of the elements of his “emergency plan for Hawaii’s housing crisis,” but his promises to eliminate red tape, streamline approvals and address zoning and other housing barriers are practical and achievable ways to encourage more homebuilding in the islands.

    Will our future governor keep his promises? 

    I expect that he will try, but his degree of success depends partly on us. We need to keep him and all elected officials accountable by encouraging them to follow up on the promises they made on the campaign trail.  

    And we have to show our support when they do, regardless of party affiliation. 

    This is not to say we should support everything that they propose, only that we give credit where credit is due when good proposals manage to cross the finish line.

    Most of the men and women about to take their seats in the Legislature have spoken about their desire to lower the cost of living in our state. But if they propose new taxes, higher budgets, new regulations or expensive government programs, will they hear opposition from the public?

    Every election holds the promise of change, but without accountability, those promises become empty campaign rhetoric. We have done our part by going to the polls, but our job as engaged citizens doesn’t end at the ballot box. 

    Keeping our elected officials accountable to their campaign promises is a job that continues all year long. It can take many forms, from testifying at the Legislature to writing letters to the editor or using social media to encourage others to make their voices heard. 

    Of course, the Grassroot Institute of Hawaii will always be here to offer help and guidance along the way. And you can look forward to more messages from us about how to contact your representatives on important issues.
    _____________

    Keli‘i Akina is president and CEO of Grassroot Institute of Hawaii.

    Getting Permitting Out of Home Maintenance

    This week we continue to focus on the City and County of Honolulu, where efforts are under way to deal with the highly backlogged state of affairs at our Department of Planning and Permitting.  As we’ve previously reported, a 2020 City audit (Report No. 20-01) (Exhibit 4.3) found that a typical residential building permit application took 108 days to process, while one for a commercial project ($1 – $10 million) took 432 days.  That is a very long time to be just waiting for a permit.

    Apparently, one reason for the huge delay is the sheer number of projects that are in the queue.  The 2020 City audit tells us (Exhibit 4.1) that in the years 2014 to 2019 there were between 15,000 and 23,000 permit applications per year.  Of these, the lion’s share were for renovations and maintenance (Exhibit 1.7).  Pacific Business News reported that there were over 8,000 building permit applications were in line as of August 2022, awaiting various stages of processing.

    When do you even need to get a building permit for renovations or maintenance?  The answer, as stated in section 18-3.1 of the Revised Ordinances of Honolulu, may surprise you.  Before 1993, a building permit was needed for maintenance work valued at $300 or more during a 12-month period, and for work, regardless of value, that affected electrical or mechanical installations.

    Ordinance 93-59 in 1993 changed the $300 threshold to $1,000, but still said that work affecting electrical or mechanical installations still needed a permit.

    Seven years later, Ordinance 20-29 said that any repairs valued at $5,000 or less during a 12-month period, even if it affected electrical or mechanical devices, did not require a permit.

    This year, Bill 56 (2022) proposes to get rid of the $5,000 threshold entirely, providing that any “repairs,” meaning replacing component parts of existing work with similar materials for purposes of maintenance, would be allowed without a permit regardless of value.  The idea, as stated in an October 31 press release from Councilmember Tupola, is to require fewer permits.  “The monetary amount is outdated, especially in 2022, as the cost of materials and labor have increased due to record inflation,” she is quoted as saying.  “It is reasonable that homeowners be allowed to perform basic repairs to their bathrooms, kitchens, and other areas within their homes, without the need for a permit–especially when the permitting process has been unfairly burdensome and excessively difficult.”

    Allowing work to proceed without a permit, of course, does not mean that the work will be done haphazardly, dangerously, or shoddily.  The architects and engineers who plan the work are licensed, as are the contractors who do the work.  If, despite the qualifications of the workers, there are problems in the finished project, then people can go to court.  (This happens even for projects that are reviewed by city government and for which a building permit is issued after significant delay.)

    When permitting delays are largely to blame for our housing crisis, as the Grassroot Institute recently concluded in a research report that we previously discussed, getting unnecessary projects out of the queue should help.

    Bill 56 unanimously passed first reading in the City Council on November 2, 2022.  Councilmember Tupola, in her press release, stated that Bill 56 is one of a set of bills she plans to introduce to attack our permitting problem.  We look forward to seeing what the others are going to be.

    HIFF Notes #5 — Movies to watch at the Film Festival

    Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb

    Editor’s note: This is the fifth installment of an ongoing blog on films to see at HIFF–The Hawai’i International Film Festival

    Turn Every Page is my favorite documentary screened at HIFF. 

    If you’re a history buff, a journalist or a writer of any stripe you should not miss Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb.

    The documentary, by Lizzie Gottlieb, focuses on the working relationship between author, Robert Caro, and his editor, Robert Gottlieb, who happens to be her father. The association between the two Bobs began in 1974 with Caro’s best selling biography of Robert Moses, the legendary urban planner and public official who worked in the New York area during the early to mid-20th century.

    It doesn’t sound like a scintillating subject, but between Caro’s research and Gottlieb’s editing, The Power Broker became a blockbuster and remains a perennial best seller.

    Bob Gottlieb and Bob Caro in their halcyon days so thoughtully illustrated in Turn Every Page
    The two Bobs circa 1975.

    The author/editor relationship between the Bobs continued through the next project–four volumes of a critically acclaimed series on Lyndon B. Johnson. Volume number five, the last of the endeavor, is in progress. In the film both men joke about who is going to outlive the other, so that the series can be completed.

    A film about the relationship between the nation’s greatest living biographer and the equally, greatest living editor, seems like a natural. We find out from the film maker that putting these two strong personalities together for this project didn’t start out as a slam dunk.

    Lizzie couldn’t help but notice that many of the writers her dad worked with, socialized with her family. Not so with Caro. In fact, she didn’t even meet him till her father’s eightieth-birthday party. (Gottlieb is now ninety-one; Caro is eighty-six.)

    Although the two worked together intimately, they argued about everything from where to place a comma or a semicolon to the actual content. When Lizzie proposed the idea of the film, they both demurred.

    Bob Gottlieb is still ticking in Turn Every Page
    Bob Gottlieb

    It took a lot of persuading, but Lizzie won out.

    I’m really glad that she did.

    These guys are the very best at what they do and as a viewer you want to know what makes them tick. Whether it’s Bob Gottleib at home with a manuscript on his lap or Bob Caro, commuting on foot (sans cellphone) to his office, you get a firsthand glimpse of their lives. We also learn about their upbringing; both had difficult childhoods and difficult fathers to contend with.

    Despite, or perhaps because of their backgrounds, both have had exceptional careers.

    Gottlieb, who has had management positions at Knopf, Simon & Shuster and the New Yorker, has edited hundreds of books by household-name authors including Doris Lessing, Joseph Heller, Nora Ephron, John Cheever, Salman Rushdie, and Toni Morrison, to name a few.

    Caro, has won a Pulitzer Prize for the Power Broker, which has been reprinted sixty-four times. His LBJ biography is a classic.

    From this film we understand why.

    When Caro does research, he does an extraordinarily thorough job. As Louise Mirrer, the president and chief executive of the New York Historical Society noted in a New York Times article, “Bob Caro is a historian whose methodology is of equal importance to the actual materials in his archive.”

    That pretty much separates Caro from the rest of the pack.

    For example, to learn more about LBJ’s roots, he moved with his wife to the Texas Hill Country for three years and interviewed a helluvalot of people. He rationale for the Texas sojourn was to able to better understand the local culture which figured so much into LBJ’s psychology. We also see Caro at the L.B.J. Presidential Library in Austin where he can be seen devouring letters and documents from the archives.

    Hence the title, “Turn Every Page”.

    Gottlieb, when asked what makes Caro tick, responded, “I don’t want to know what makes him tick–I just want him to go on ticking.”

    Turn Every Page is a terrific documentary. Thanks Lizzie…

    Pooped in Space: Turd Integrity Improves Poop Performance, Study Shows

    As we contemplate a Muskian future of space travel and life on other planets, it’s important to understand that you will have to deal with the perils of pooping in zero gravity. 

    We’re all spoiled here on Earth, where we enjoy gravity all the time. You don’t think about what it would be like to not have gravity and a downward pull all the time working on your body and all the bodies around you. And when you defecate, you blissfully assume that gravity will be there to drop the turd in the toilet.  

    Things don’t drop without gravity. So just stop and think of how messy it would be in a spaceship and have to number 2. You may already be dodging floating liquid from your number 1.

    Naturally, having their personal waste floating around them would piss-off the astronauts, so scientists have been working feverishly to develop space-age pooping technology. And according to a fresh dog-poop study that just came out, there is more to this issue than gravity.

    To better understand pooping, scientists have turned to man’s best friend, the dog. Dogs are often used as subjects in scientific experiments, since that’s how man treats his best friends. In this case, they were chosen because dogs have easy to see buttholes. 

    The study looked at more than the effect of gravity on fecal separation from the anus, or as it is medically called, the “plop drop”. It also looked into the integrity of the turd, or how it held itself together, and how that effected the plop drop phenomenon. 

    According to the study, mushy turds are messy. The ideal turd is firm, but not too hard; soft, but not too mushy; should hold together like a sausage; and should pinch off perfectly at the end, without leaving any visible residue on the anus. 

    The study examined the defecation of 24 dogs of various breeds, fed exclusively either a diet that gave them mushy turds, or a diet that gave them nice, firm turds. The dogs were walked in the same park for 7 days following their meals, and their pooping was recorded by iPhone. Measurements were made of the turd thickness, time to finally drop from the anus, and anal residue, if any. 

    After lots of statistics software was used, the data revealed that firmer turds are better pulled by gravity than mushy turds, leaving the anus cleaner. This study heralds in a new age in space travel, and is being hailed as the greatest thing to happen to space travel since William Shatner.

    The results astounded the scientists, who have all decided to alter their own personal diets. 

    Hopefully, the importance of gravity and poop integrity will get the attention it deserves. It is a subject that most people don’t want to step into, leaving this subject void of proper examination. But we can thank space research for giving this scoop on space poop. 

    And I think we can all thank the researchers who have opened this new frontier, and the dogs who agreed to having their pooping filmed for the study.

    Note: This is satire. The dog study is made up. But NASA has had a turd problem, for real. See The Floating Turd Mystery that Still Haunts NASA.